Characters within Ghostbusters: Afterlife may not be afraid of ghosts, but the spectre of the previous reincarnation of these phantom-busting heroes still lingers on the minds of audiences everywhere. Jason Reitman follows in the nepotistic steps of taking on the family business. Ghostbusters, the classic feature from his father, Ivan Reitman, is ready for another drubbing. Another staged moment in the spotlight, but at least this one feels right. It hits the notes of the past while pushing forth into a bleak and unknowably bright future. There is no severing of the predecessors, but an acceptance of it. No way of backing out or putting down the accomplishments of those that had come before them, the greatest step Ghostbusters: Afterlife takes is in accepting the past and the nostalgia that comes with it.
Horrible circumstances may surround The Crow and even elevate it in a sickeningly dark way, but those tragic circumstances that led to the death of Brandon Lee make this feature film inevitably more interesting. Donning make-up that would become synonymous with many for wrestler Sting adapting the black and white face paint, there is a seriousness lost. It does not help that the Insane Clown Posse did this also. Inherently popular among circles that are desperate to prove their cool factor, The Crow has managed to evade the darker rims of these arenas, simply by being good. Watch it and weep, Taxi Driver, this is how you inspire a set of truly misguided, foolish youths into thinking they are the creative showstopper the world is begging for.
Before we explore the mysteries of the jungle, our technology will expand so far into the future that we’ll be able to arm Bruce Campbell with a laser capable of cutting through leaves and not much else. Congo is stupid, let us get rid of the idea that it could be anything more than that almost immediately. With that in mind, the Frank Marshall-directed piece must clamber to the right side of stupid, it must present effective, fun moments with gore and engaging characters. That is a hard task to manage, and the hilarity is prevalent even when it shouldn’t be. Such is the effect of our modern culture and the impact Tim Curry can have on a screenplay. Fear not, for Congo is now the cult classic we have all needed in our lives, it is a necessary, big-budget car crash that finds solace in its unintentional humour and aversion to science.